Having a BLAST with Matrix Reloaded right now. I was only previously familiar with the first Matrix film/score, so I wasn't quite sure exactly what to expect from Reloaded, but man, this is some groovy stuff. Lots of ballsy percussion and emotive soundscapes and bursts of avant-garde brass. Very cool.

I'll bite. I always liked the old Earp album but this new releases is a revelation. Awesome score. Like that it sounds a little louder and the unreleased cues are awesome. Yes its a bit long now so will have to edit it down a bit. Miss the old Howard!

Sad to read in the liner notes that he has' intentionally tried to move away from this sort of writing to more of a textural, gestural idea, and away from pianistic writing'. He was pretty darn good at it! Fabulous score!

Sad to read in the liner notes that he has' intentionally tried to move away from this sort of writing to more of a textural, gestural idea, and away from pianistic writing'. He was pretty darn good at it! Fabulous score!

Sad to read in the liner notes that he has' intentionally tried to move away from this sort of writing to more of a textural, gestural idea, and away from pianistic writing'. He was pretty darn good at it! Fabulous score!

Yeah, I don't want to say it's a tragedy, but damn.

I found it more intriguing than a shame. Any artist worth his salt will allow his style to change as he ages, instead of forcing himself to produce the same thing over and over. It would be as if Picasso forced himself to keep painting in his "blue period" style long after he was interested in it anymore. Howard stated something similar back in the early 90's when he noted he was purposefully moving away from dramas and romantic comedies, instead becoming more interested in what could accomplish in action/adventure genres. I will always be a big fan of his more "pianistic period" scores, but I applaud him as an artist willing to push himself in new directions.

I've been listening to Reloaded a lot since my release day order arrived.

It's certainly a blast, and shows (like the series as a whole) an intelligence level atypical of a big summer movie score. Same goes for the films.

I know I'm saying nothing new here, but wanted to voice my appreciation of the score, the film and LLLR's release.

If LLLR could get The Matrix licensed from Varese, and give that and Revolutions the same treatment, It'll make complete a deserving musical presentation.

I absolutely agree with your comments on RELOADED, both film and score. At this point, I would only be interested in an expanded REVOLUTIONS from LLL, if that is feasible, as I am quite happy with the Varese expanded presentation of THE MATRIX.

I've been listening to Reloaded a lot since my release day order arrived.

It's certainly a blast, and shows (like the series as a whole) an intelligence level atypical of a big summer movie score. Same goes for the films.

I know I'm saying nothing new here, but wanted to voice my appreciation of the score, the film and LLLR's release.

If LLLR could get The Matrix licensed from Varese, and give that and Revolutions the same treatment, It'll make complete a deserving musical presentation.

I absolutely agree with your comments on RELOADED, both film and score. At this point, I would only be interested in an expanded REVOLUTIONS from LLL, if that is feasible, as I am quite happy with the Varese expanded presentation of THE MATRIX.

I get that. The Matrix deserves it though. I dropped the ball with the Deluxe Edition, and I actually don't have any edition of the first score.

Sad to read in the liner notes that he has' intentionally tried to move away from this sort of writing to more of a textural, gestural idea, and away from pianistic writing'. He was pretty darn good at it! Fabulous score!

Yeah, I don't want to say it's a tragedy, but damn.

I found it more intriguing than a shame. Any artist worth his salt will allow his style to change as he ages, instead of forcing himself to produce the same thing over and over. It would be as if Picasso forced himself to keep painting in his "blue period" style long after he was interested in it anymore. Howard stated something similar back in the early 90's when he noted he was purposefully moving away from dramas and romantic comedies, instead becoming more interested in what could accomplish in action/adventure genres. I will always be a big fan of his more "pianistic period" scores, but I applaud him as an artist willing to push himself in new directions.

He´s still one of the great composers working today. I love his" pianistic period" but prefer his full blown melodic big orchestra scores, such as the magnificent "Wyatt Earp" which in the new La-La-Land release truly is the score to own this year.